Unicorn 1572

Curator: Welcome. Today, we are looking at "Unicorn," an oil painting from 1572 by Maarten de Vos, currently residing in the Staatliches Museum Schwerin. What are your first thoughts? Editor: My immediate impression is… awkward. There's a disjunction between the mythological subject and the somewhat stilted, almost amateurish rendering. The palette feels strangely muted for such a fantastical creature. Curator: Well, let’s consider the production context. De Vos was part of the Antwerp School, painting at a time when printmaking was becoming increasingly important. This work feels very much informed by the visual language of popular prints. We see this unicorn rendered for an audience that is probably increasingly familiar with illustrated bestiaries and other widely disseminated imagery. Editor: That's interesting. I’m particularly drawn to the background – a miniature hunt scene unfolds, adding to the somewhat disjointed narrative. It does create a sense of depth and busyness, however, it's competing with the main subject, breaking with usual compositional logic. The almost monochromatic tone makes this Unicorn less about luminosity and more about surface. Curator: Indeed. Think about the artisanal labour involved in preparing the pigments. Consider how these were likely locally sourced and dependent on trade routes. We should think about the patrons of these paintings; were they merchants? This would have an influence in the techniques that the artists employed. Editor: Looking closely at the beast, one might interpret the spiral of the horn as symbolic, reflecting ideas of ascendance, spirituality, or even a reference to classical notions of perfection expressed through geometric forms. Its posture seems strangely docile. I mean, is it powerful and free or rather an emblem? Curator: It’s both. And I suggest the contradiction stems from where it sits within networks of trade and value. By depicting the hunt, for instance, is de Vos commenting on power? The unicorn becomes a symbol of luxury, rarity. It points towards a certain social positioning afforded by mercantile exchange. Editor: So, both material presence and myth, intertwining commerce, creative imagination and labour practices within a single artwork. Curator: Exactly, each telling a different story, connected in myriad and revealing ways. Editor: Fascinating! Looking beyond the image itself illuminates layers of production and representation, shaping this symbolic beast. Curator: A worthwhile thing to remember.